Oil painting medium



United States Patent U.S. Cl. 106-159 2 Claims ABSTRACT OF THE DISCLOSURE An oil painting medium comprising lead monoxide, boiled linseed oil, a solution of egg yolks in water and vinegar, and turpentine.

The present invention relates to a glazing composition to be used with oil colors.

This medium used as a dryer and glazing emulsion for oil painting combines many outstanding features never before obtainable in the fine and exacting art of Oil painting. Its uses are generally intended as a mixing medium, in place of linseed oil, poppy oil, damar varnish, etc., or other oils or dryers commonly used in oil painting.

This medium should be used in all instances with oil colors as they are prepared through color mixing for application to the canvas. It may be used in a thin state by the addition of turpentine, to produce color glazes, or in its normal state to produce impasto or palette knife painting that will dry rapidly. This medium will, when properly mixed with all oil colors, prevent flat spots, dead areas, or sunken paint areas, and dries in an even semi-fiat sheen upon canvas, board, or paper to which it has been applied. This medium will not discolor pigment or will it age, discolor, turn yellow or in any way affect the color or quality of the painting over a long period of time. Because of the very nature of its ingredients, a long wearing flexible, non-cracking surface can be produced, that will not gloss, and the emulsion produces a sufficient binder to prevent chalking or other disturbing conditions usually found in art work after several weeks of drying.

It is preferable that this medium be placed in an openneck container when using, to a sufficient depth to prevent touching sides or bottom of the container, when the brush is dipped into the mixture. This keeps the glazing medium free of color and other foreign particles, that would soon discolor or muddy the emulsion.

Under ordinary conditions this medium will start setting up on the canvas in about 30 minutes, becoming tacky and more or less resistant to additional applications, in one to three hours, and will harden sufliciently for glazing in three to eight hours. It is while in this tacky state that many beautiful and exciting combinations of shades and hues can be introduced into the painting. As these additional applications of pigment and this medium begin to dry into the original application, they will have a tendency to sink in and assume some of the color from the original pigment applied, thus producing fantastic glazing and mixing possibilities. This tackiness also allows, by careful manipulation of the brush, many interesting shapes that produce a loose, free quality to the artists painting. As these colors dry however and the last color sinks into the former application, it will lose a certain amount of its original intensity. This should be taken into consideration as the desired color of pigment is mixed. This process of action seems to apply more generally when thin glazes are made, than when thick impasto methods are used.

When painting back into a canvas that is thoroughly dry, it is well to paint the canvas with a thin coating of this medium combined with a small amount of turpentine,

before applying glazes or heavy pigment. This again brings the painting into a live workable condition and permits loose, free application of pigments, and produces a surface more acceptable to blending and intermixing of colors.

Under the best conditions, glazes should be applied with a soft, flat sable or ox-hair brush of top quality, however, this particular glazing medium can be applied with a bristle brush with many desirable results. Experiments have been made with a fiat ox-hair signwriters brush to 1" size, resulting in an entirely new concept in the art of oil painting. Because of the exceptional control available in a good brush coupled with the smooth applicable quality produced with this medium, many interesting areas can be placed in a painting varying from thin exacting lines to loose semi-controlled areas. Through the accidental and varying nature of the flat brush technique, many stimulating ideas and colors can be introduced into a painting.

Care should be exercised as the painting approaches the finished state, that a dry brush method be introduced into many objects in the painting, thus producing patterns of soft, hazy quality. This can be accomplished by thicker application of color with the addition of a smaller quantity of glazing medium and/or turpentine and by deftly placing the brush on the canvas, pulling lightly and lifting from the canvas in a dragging motion.

One of the exceptional qualities of this medium, found when used as a glaze, is the stationary condition of the pigment. Under no conditions, no matter how thinly applied, or even at vertical angles, will the application be found to separate medium from color, or to run on the applied surface. The suspension qualities therein actually arrests the movement of the pigment after application.

This medium in an emulsion and consequently will separate after periods of standing in the container. This does not affect the quality. Merely shake well before using.

The following compositions have been specifically developed, tested and applied.

Formula 1 1 lb. lead monoxide /2 gallon boiled linseed oil Stir together and cook over heat, stirring intermittently until mixture comes to a boil. Stir constantly until the mixture fiuffs and sets when dropped on slanted glass or in cool water. Allow to cool to degrees F.

Measure out two liquid preparations, the first composed of /2 gallon turpentine, and the second comprising 8 egg yolks thoroughly mixed into /2 gallon of water. Slowly, and in small amounts, intermittently mix together the turpentine, egg mixture, and the cooked linseed oil mixture, shaking well between each addition. Add one teaspoon of vinegar and thoroughly vibrate for one hour or until mixture is thoroughly emulsified on an electric paint shaker.

This is the thinnest liquid type product of any of the formulas and generally the one used most extensively. It is usually applied with a brush, but can be used with a palette knife.

Formula 2 1 lb. lead monoxide /2 gallon boiled linseed oil Stir together and cook over heat, stirring intermittently until mixture comes to a boil. Stir constantly until the mixture flulfs and sets when dropped on slanted glass or in cool water.

Allow to cool to degrees F. and add one cup turpentine, and a solution of 4 egg yolks and one cup of Water. Vibrate together with an electric paint mixer and add /2 teaspoon vinegar. Allow to set into thick paste. This paste mixture can be used with a brush or a palette knife'or spatula to produce thick, third dimension effects in the painting.

Formula 3 1 /2 lbs. lead monoxide /2 gallon boiled linseed oil /2 cup alumina stearate Formula 4 2 lbs. lead monoxide gallon boiled linseed oil 1 cup aluminum stearate Stir together and bring to a boil, then stir constantly until the mixture fiufis, allow to cool to 125 degrees F.

Add together:

2 teaspoons turpentine 6 egg yolks in three cups water mixture,

vibrate ten minutes and allow to cool into paste form, with an electric paint mixer. The same uses apply to this formula as those shown in Formula 3.

The mediums of Formulas l and 2 produce particularly good results.

It will be apparent to those skilled in the art that modifications may be made to adapt this to particular applications, and all such modifications which are within the scope of the appended claims are considered to be comprised in this invention.

I claim:

1. The method of making an oil painting medium which consists in making a first mixture of one pound of lead monoxide and one half gallon boiled linseed oil, stirring together and cooking the first mixture to fiufling, cooling to degrees F. making a first liquid preparation of onehalf gallon turpentine, making a second liquid preparation which is a solution consisting of eight egg yolks mixed slowly in one half gallon of water and one teaspoon vinegar, mixing said first preparation and said second preparation with said first mixture slowly and intermittently, vibrating said last mentioned mixture so obtained.

2. An oil painting medium consisting of one half gallon boiled linseed oil, one half gallon turpentine, one half gallon water, one pound lead monoxide, eight egg yolks, and one teaspoon vinegar, mixed together, said medium being adapted to be added to commercially prepared color pigments while painting.

References Cited FOREIGN PATENTS 187,211 7/1907 Germany.

ALLAN LIEBERMAN, Primary Examiner US. Cl. X.R. l06256 

